Andy Bell ‎– Something Like Love

 

Andy Bell ‎– Something Like Love

By

Jesse E. Mullen

 

In a creative profession, the past is usually used as a source of inspiration for an artist. A writer may look inwardly to understand where they came from, and how these experiences have shaped them as a person. Andy Bell takes this to a new level on “Something Like Love.”

The Ride guitarist/songwriter’s new solo single takes the form of a message to his younger self. Bell said in a press release that he went back to young Andy for advice on how to live life during the ongoing COVID pandemic. He said that he learned the technique in therapy.

Bell takes the lessons of both youth and adulthood, and channels them into his message. When we are young, we tend to naively wish our time away. When we are older, our naivete can turn to cynicism. Bell cautions young Andy not to give into either.

He says to “use a mirror” to “burn down the world for me.” “Burning down the world” seems not to be taken literally, but rather a clever inversion of the phrase “set the world on fire” – meaning to achieve great success in a short period of time.

Historically, mirrors have been used in multiple ways in song lyrics. They have been used both to symbolize drug use and for looking inwardly. Here, Bell uses a mirror for the latter purpose. He’s expressing a desire return to his youthful energy and enthusiasm for creating art and conquering the charts.

Musically, the track is just as beautiful and reflective. Waves of reverb, harmony vocals, and mellotron wash over the song as a haunted acoustic guitar melody is strummed. The track recalls the chord progression of Ride’s early hit “Vapour Trail,” but also the majesty of “Soul On Fire” by Spiritualized.

According to Bell, the track – and forthcoming album – was recorded with guitarist and former Beady Eye/Oasis bandmate Gem Archer engineering. The instrumentation was done back in 2016, with Bell adding vocals and overdubs in 2020 and 2021. The fruitful sessions also produced songs from Bell’s first solo album.

While introspection can help us live in the present, it can also help us learn from the past. On “Something Like Love,” Bell looks ahead to an uncertain future with the wisdom of both youth and experience. The duality of existing in both worlds makes the track a lush success.

Sonic Cathedral/2022

 

 

 

 

 

The Bats - Foothills

The Bats - Foothills

By

Jesse E. Mullen

 

 

There is an essay by Isaiah Berlin entitled The Hedgehog and The Fox. The title is based off of the old adage that “the fox knows many things, but the hedgehog knows one big thing.” While Berlin was primarily talking about Tolstoy’s view of history, his basic premise can be applied to a variety of artists. And more specifically, musical artists.

Because of his stylistic leapfrogging, David Bowie could be considered a fox. Because Lou Reed pretty much stuck to direct, simple poetry and chugging guitar rhythms, he could be considered a hedgehog. 

The Bats are firmly in the latter category. Formed in Christchurch, New Zealand in 1982, they have preferred to refine their jangly indiepop sound rather than doing something drastic – no Berlin/Eno excursions for this quartet.

But this has a positive effect on their discography. You’d be hard pressed to find a bad track in their nearly 40 years of album making.   

So where does this leave Foothills, the latest Bats offering? Well, it’s another fine collection of jangly indiepop – with a gradual shift towards mellower, introspective material that one would expect from musicians in their mid-50s.

That’s not to say they haven’t evolved slightly. “Scrolling” features atmospheric soundscapes by way of some beautifully reverberated guitars. “Beneath The Visor” is reminiscent of Stoned and Dethroned-era Jesus and Mary Chain with understated acoustic guitars and subtle Gretsch tones.

But there is a sweetness to The Bats music which doesn’t require complex showmanship or extra instruments. The beauty lies in the simplicity of the songwriting.

As the ultimate hedgehog band, The Bats have changed very little since their formation in 1982. Yet they still find ways to keep their sound fresh by doing what they do best – writing killer songs.

In Foothills, The Bats have crafted an album evocative of summer evenings, regardless of the time of year.

Flying Nun/2020

 

 

Tobin Sprout – Empty Horses

 

Tobin Sprout – Empty Horses

By

Jesse E. Mullen

 

 

Tobin Sprout is the George Harrison of the Guided By Voices universe. Now, before you Beatle-maniacs bite my head off, let me elaborate. Both were the last to join as a member of a famed songwriting team (sorry Ringo.) Both were the quieter foil to bombastic frontmen. And both had a stockpile of leftover songs once the partnerships ended.

For Tobin, this resulted in the sometimes excellent, sometimes scattershot The Universe and Me in 2017. While it contained an all-time classic in “When I Was A Boy,” it also had a fair amount of filler at 14 songs. 

So, when Tobin Sprout announced Empty Horses, I was cautiously optimistic. Sure, I knew there would be a few gems, but I wasn’t sure how the album would stack up as a whole.

Empty Horses is a deceptively simple album musically. It works primarily within the genre of folk with hints of country rock thrown in. The songs and their structures call to mind the sound of Neil Young’s Harvest and After The Goldrush albums. But whereas those albums dealt with subject matter of the early 70s and the Vietnam conflict of the time, Empty Horses deals with our current state of affairs with a twist.

And just what is that twist? Rather than dealing with current issues head on, Tobin uses characters from the civil war – some real, some fictional – as a metaphor for the division in the United States today.

The most explicit references to the civil war come in the song “Antietam,” sung from the perspective of a soldier who died in that battle. However, these references never get heavy-handed, and are instead treated as a warning as to what can happen when a nation becomes too divided.

Elsewhere, we hear several biblical references. Lyrics about “god’s hammer” appear as a recurring motif throughout the album. “The Return” recalls a journey where the narrator witnesses two characters praising god and the resurrection.

While I am not typically moved by religious references, here they are woven into the narrative of the songs particularly well, given the period when most of these songs take place – the 1800s. In essence, Tobin has crafted a period piece drama minus the moving pictures.

And speaking of pictures, I would be remiss not to talk about the packaging and artwork included with the album. Instead of a standard jewel case or digipak, Empty Horses is packaged in a 20-page hardbound book of lyrics and paintings by Sprout; one painting corresponding with each track on the album.

As an accomplished photorealistic painter – his work also adorns the front cover – it is a treat to have such a gorgeous package to accompany the music.

As terrible as 2020 was for all of us, we sure did get some terrific releases. But none measure up to Empty Horses. The album may stick to mid-tempo folk, but it never overstays its welcome. Instead, it leaves the audience wanting more.

Tobin Sprout has been crafting albums for nearly 40 years, but none match the lyrical depth and stark simplicity of Empty Horses.

Fire Records2020